Exhibition: September 11th – November 28th, 2015
Reception: September 11th, 8PM-11PM
Sunday Apéritif with Gail Anderson and Jay Mosher: October 18th, 2015, 1PM
We do the work, you do the pleasure: Brasília publication launch: November 27th, 2015, 8PM
In the UAS Main Space
In the late 1950’s, Brazil founded a new national capital in the Brazilian highlands. Featuring ambitious architecture and urban planning, Brasília was conceived as a modernist utopia capable of realizing a poetic and idealistic vision for the nation’s future.
Jay Mosher’s installation of the same name, Brasília, explores how utopic approaches to architecture impact and respond to the human psyche while also catering to seemingly unusual human desires.
Through film and sculptural installation, the exhibition draws on conversations and time spent with Calgary arts patron and advocate Gail Anderson at her Mount Royal home, a local example of utopic architectural design that was built in the 1970’s by architect Bill Boucock. The house was appropriately termed the “Garden House” in a 1977 edition of Western Living magazine.
Informed by visits to the Garden House and by Mosher’s friendship with Anderson, Brasília evokes the sensibilities of a place that is evocative yet nostalgic and familiar yet strange, while investigating how bodies connect to, shape, and are shaped by built and organic physical environments.
Jay Mosher is a Canadian artist currently based in Calgary. He received an MFA from Glasgow School of Art in 2013. In 2015, Mosher participated in several residencies including the early winter and the late winter (intensive) Banff Artist in Residence program and another at the Vermont Studio Center. In early 2016, Mosher will have a solo exhibition entitled And there a bronze nail stopped the gush of blood and sent it bubbling back inside. at Harcourt House Gallery, Edmonton.
Jay Mosher’s artistic practice considers the vitality of things within an aging natural world. His work reacts to truths and misconceptions about wellbeing and often utilizes materials and objects defined by niche industries and trends. Mosher’s fascination with objecthood specificity hints at a wider curiosity into the seductiveness and opulence of objects and how these ideas are represented in contemporary culture. He works in video, sculpture, and installation.